Review: 6SISS explores the power and mystery of quasars on this latest release for Micron Audio, a sonic journey through these cosmic giants. The four tracks represent different stages of interaction with a quasar, from the initial observation to a euphoric absorption into its core. 'QUASAR I' features fizzing synths evoking radio waves traveling across space, while 'QUASAR II' brings a bass-heavy intensity, simulating the gravitational pull of these celestial bodies. 'QUASAR III' deepens the mood, illustrating the slow attraction of stars and planets, and 'QUASAR IV' crescendos with euphoric absorption into the quasar's core. 6SISS crafts an abstract, scientific narrative, offering a deep, immersive experience with radiant energy.
Review: It's double figures for Bruto Industries, who as the name suggest like to offer up brutalistic techno bangers. These latest six missives come from Alf who opens with lurching beat beats and zippy synth loops that lock you in the moment. 'Servil Comadreja' is another broken beat rocker this time with twitchy synth modulations and acid lines slashing through the mix. There is raw machine rigidity to 'La Tipica Historia' that echoes the vibe of EBM and three further cuts keep exploring a rase of textures and busted rhythms with 'Raquitismo' being particularly heavy.
Review: Gothenburg trio Amateur Hour is Hugo Randulv, Julia Bjernelind and Dan Johansson, and Gar I Kras is their fourth album. It builds on the expansive Krokta Tankar Och Branda Vanor from back in 2022, and though still experimental and out there, it might also be their most accessible and polished work yet. Dreamy lo-fi pop meets gritty electronics and sound collage throughout as damaged linger above humming basslines and grimy guitars underpin detached vocals. It's a haunting but beautiful soundtrack for outsiders who like music from the fringe but that retains a sense of human warmth and soul.
Study For Tape Hiss & Other Audio Artefacts (12:01)
Apparition 5 (2:14)
Review: Selected from a decade of recordings, this release showcases Bass Communion at its most experimental and texturally rich. Tracks are layered with analogue imperfectionsitape hiss, wow and flutter, static noiseithat are transformed into haunting soundscapes. The mellotron, buried beneath layers of imagined rust and dirt, adds an eerie, organic depth to the fragmented drones and spectral noise. The carefully constructed album feels like an excavation of forgotten sonic artefacts, with each piece offering a narrative rooted in decay and texture. Pressed on 2xLP, this is a striking addition to the Bass Communion catalogue, perfect for fans of sonic exploration.
Review: First released in November 2024, Belief Disconnect's Desire & Discontent follows up on the preceding Decadent Yet Depraved, and cements their status as commentators of our times. If last time took a sledgehammer to the monstrous face of a world presenting as one thing but actually something more brutal and savage, this marks our arrival in different time. Masks, like gloves, are off, sides drawn, and the knife edge society and civilisation now rest upon is cast in sharp relief. This is dark, and we mean very, very dark, stuff. It's industrial. Like, super factory-sized industry. Tracks are full of rage. There's the sense that human aspects, a vocal for example, are emanating from solitary confinement somewhere in the depths of a Borg ship. And yet hearing and listening are acts of catharsis - Desire & Discontent is as much about giving us an outlet as it is reflecting a dystopian sci fi narrative which may be on the verge of coming true. Belief Defect certainly seem to think there's a chance, anyway.
Review: Belief Defect's Moe Espinosa and Luis Flores bonded over a love of early industrial music - and even now, some six years on from the pair's debut album, its influence is still very much in evidence. But that doesn't mean that this, their eight track sophomore effort, harks back to the days of Throbbing Gristle et al. Rather, the Berlin duo take their taste for the uncompromising and sonically shocking and twist it into new shapes, equally informed by experiments from the leftfield of electronica and sharpened up by acute sound design. 'Apprehension Engine' is technically ambient - it's certainly beatless - but the way it steadily frazzles and burns itself up is edgy and unsettling rather than being chill out material. 'The Witching' splices doom-laden, deep voices with lumphammer kick drums, while 'Celebrate Me!' is a gloriously half-Suicide, half-Autechre mix of cyborg aggression and throbbing sequencers. Not one to be listened to with the lights off we reckon... It'll be all fright on the night!
Review: Originally released on cassette in 1984, Borghesia's Clones album now resurfaces on vinyl courtesy of the dons at Dark Entries. It's a fine glimpse into early electronic experimentation from 1980s Ljubljana, all created using borrowed gear and recorded live without overdubs. The results are an album of hypnotic proto-techno and acid-inflected instrumentals intended for video installations and performances, all of which speak to the raw, pioneering spirit of the scene in Yugoslavia at the time. The A-side has driving club energy, while the flip drifts into more immersive ambient territory. It might be four decades old, but this album still has a visceral impact on mind and body.
Review: Swedish EBM icon Celldod returns to Electronic Emergencies with a new album pressed on striking transparent magenta vinyl. Pa Liv Och Dod is a superbly emotionally charged release that channels the raw energy of D.A.F. and Front 242 while blending dark electronic beats with intense lyrical themes. It has collaborations with Leroy Se Meurt and Michael Zodorozny, plus Anders Karlsson's haunting Swedish vocals exploring death and life's meaning also appear across tunes that are both urgent and dance floor directed. Pa Liv Och Dod will force you to confront fear and chaos head-on while offering a soundtrack that offers some catharsis from it all.
Review: Imagine a world where the pioneers of hip-hop and electro reign supreme, their sounds echoing through the neon-lit streets of a futuristic metropolis. This is the world that Clipping creates, their music a heady blend of gritty beats, razor-sharp rhymes and dystopian soundscapes. 'Dominator' and 'Change the Channel' set the tone with their raw energy and infectious hooks, while 'Run It' and 'Go' showcase the group's lyrical dexterity and knack for crafting intricate rhymes that weave tales of technology, alienation and social unrest. Collaborations with Aesop Rock, Nels Cline and Cartel Madras add further depth and dimension to the album's sonic tapestry, each artist bringing their unique flavour to the mix. Tracks like 'Simple Degradation' and 'Mood Organ' delve into the darker corners of this dystopian world, exploring the anxieties and uncertainties of a future dominated by technology. It's not for the faint of heart, but it is a thrilling ride through a world of futuristic sounds and thought-provoking lyrics.
Review: Fresh from releasing a swathe of conceptual full-lengths, Los Angeles threesome Clipping have returned to their hip-hop roots via a mixtape style album reflective of their hip-hop roots. Of course, this is not hip-hop in the classical sense. According to the accompany sleeve notes, Dead Channel Sky is a collection of cuts focused on the present, dually inspired by the histories of cyberpunk and hip-hop. In practice, that means fast-flowing and lyrically dextrous rhymes, of course, but also beats that variously sample, chop up or reference everything from 90s rave classics, the rock-rave big beat antics of the Prodigy and Nine Inch Nails stail industrial grit, to TB-303-laden acid house, the dark and doomy trip-hop of Mezzanine-era Massive Attack, drum and bass and experimental electronica.
Review: "Random, tense, scary and compulsively fascinating". That's how Chris Connelly describes the period in which the tracks on this album were originally written. As the main man behind some of the most iconic and influential industrial bands in history - Ministry, Revolting Cocks, Murder.Inc... - he's definitely well placed to make this kind of judgment. And it comes across even more understandable if you grasp the fact he's meaning all that in a good way. Throbbing Gristle should need no introduction, having pretty much written the blueprint for industrial musick in the nuclear age. A sound that screamed "get us out". Combine that oeuvre with this guy, then, and you have something which is uncompromisingly explosive and effective. Not to mention fitting, given half the people on the street seem convinced we're rushing headfirst into another atomic standoff, if not something much, much worse.
Review: Another of five LPs by Current 93 (David Tibet) through his own audio-esoterica label Cashen's Gap, this brilliant yellow and green hued LP nods to the universally recognised colour of earth-ground wire, and comes in the wake of a recent two part set of "channellings" (live performances) in both London and Hastings. As ever, Tibet steers the dream ship through surreal poetics and creaking soundscapes, and offers us a risograph print of his artwork, titled MayBe Skeletal RainBow, or perhaps Building The RainBow PainBow Preparing For Menstrual Night (we're not sure).
Review: As we hapless reviewers make our way through these five new experimental LPs by Current 93, we cannot help but feel increasing torment and terror at the figures portrayed on the front covers of each record: hand-painted by David Tibet himself (the artist has increasingly indulged such formal solo trend-buckings through his own Cashen's Gap imprint in recent years) they appear like sleep paralytic demons or the ghosts of cancelled English folk yore. All the records are apparently ritually connected to a recent string of live appearances between London and Hastings, and Tibet's penchant for demonologic peerage titles such as GreenSleeve Drakon and Gnostic Sketch - blurring a sense of self-referentiality and occult otherworldliness - leave us bewildered and slack-jawed.
Review: English experimental group, Current 93, was founded in 1982 by David Tibet and set out to explore industrial music with abrasive tape loops, droning noises and distorted vocals. As Real As ScareCrows is a haunting new chapter in Tibet's arcane vision, and it was released alongside four other LPs to mark recent Channellings in London and Hastings. Ritualistic and esoteric, the album feels like a spectral transmission or "ScareCrow scaring crows away after Menstrual Night," as Tibet describes it. It's a deeply unsettling and bleakly poetic work that is unmistakably C93 in its mood and mystique. Each copy includes a signed risograph print of Tibet's painting, making it as much an art object as a musical release. A beautifully eerie offering from one of Britain's most enduring and enigmatic cult acts.
Review: Moony Tunes is one of five new 12" LPs recently unveiled by David Tibet aka. Current 93, mad witch doctor of the post-80s industrial continuum. An ever-morphing project, Current 93 always implies motifs of apocalyptic folk, dream logic, and esoteric revelations, and this volume, subtitled Preparing To Sleep In Menstrual Night, feels like a whispered dispatch from the edge of sleep and symbol. True to C93's nature, it resists easy description, lullabying eerily through hoveringly attentive drones and spellcasting vocals. Each pressing includes a riso print of Tibet's painting Moony Toons, hand-signed in pencil, thus hand-stamping an album best received as a kind of ritual, and shaped by the occult aurae of Tibet's performances in London and Hastings earlier this year.
Review: Dawn Yawns is one of five new 12" records released at the same time, documenting one or two - if not more - furtive live sets performed by Current 93 (David Tibet) between London and Hastings in early 2025. On this quintet of new transmissions, dream and daylight are heard in grisly merger, on the back of an umbral awakening from a polar slumber, where the blood moon never sets, known to C93 fans only as the "Menstrual Night". Be warned, however, these eerie recordings have a sure capacity to mark the soul in unprecedented ways.
Review: Die Sexual exist in the world of Adult, of Gary Numan on a night out at Kit Kat Club, Cabaret hedonism, phallic and yonic electronic beats, rhythms and other noises. Elektro Body Musique, the title a play on electronic body music, or EBM to the cool kids, takes the bull by the horn with savage, hyper-lascivious futurist club music that makes you feel like the voyeur and objectifier in equal measure. 11 tracks owe as much to dystopian cold wave as electroclash and synth pop, basslines warbling and bouncing beneath blunt instrument kick drums and savage key stabs, all topped with the kind of energy-inducing snares we often worry were left in the glory days of these sounds. Immediately dark, alluring, and suggestive, it's a strong case for giving in to temptation.
Review: Ultra Point Of Intersection Exist is a landmark album in Japan's noise and industrial scene that was created by Ichiro Tsuji in 1987. All these years on, Dissecting Table still delivers a standout and relentless fusion of harsh electronics and mechanised rhythms that echoes the dystopian intensity of Whitehouse, SPK and Einsturzende Neubauten. Straddling noise, industrial and experimental extremes, the album captures the radical spirit of its era alongside peers like Controlled Bleeding and Ramleh and so has long been a highly anticipated reissue or noise fans. It comes with a new design that respects the artist's wishes to forgo the original layout.
Review: DJ Cypher pops up on our radar for the first time here and the indelible mark he makes too. This new album is visceral and coruscated electro funk with dark low ends and ripping acid lines all making it a high-impact assault on your senses. 'Freetwo' in particular is devilishly potent and textured. 'Second Voice' is a barrage of kinetic drum programming and throbbing bass and 'Freeone' is a silky, lithe workout with slamming hits and alien bass energy. Brilliant stuff.
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